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Wait And Pray

Sweden Country of Origin: Sweden

1. Shabadoo
2. Colony
3. Kamikaze
4. Light
5. Thanks Anyway
6. Hut Nut
7. Boozer
8. Talking Candles
9. New World
10. You Be Illin'
1. DISC 1 -- Deadline
2. Darkness Part One
3. Hang 'em High
4. The Justice Song
5. Lady Death
6. Where Evil Hides (Intro)
7. On Your Knees
8. Sealing Fates
9. Sometimes I Bleed
10. Walk The Other Way
11. The War Is Over
12. Where Evil Hides (Outro)
13. Any Other Day
14. Barbed Wire Tight
15. Ballad To The Harvest
16. World Of Pain
17. Darling Meet Demise
18. The Grave
19. When The Raven Spoke My Name
20. Skeleton
21. Summer Went South
22. Desolate
23. DISC 2 -- Likbor
24. Heathen Ground
25. The Endlessness
26. Ruin
27. And The Bells Are Ringing Doom
28. North
29. Darkness Part Two
30. The Men Of Gallow Proud
31. The Seaward Song
32. The Road And The Forest
33. Nihil Interit
34. Sigars Oyk
35. Origins
36. En Bekk Av Blod

Review by Tobias on November 8, 2001.

Lilitu is a rather unusual band. The first piece of that uniqueness is that they are the first American band to really delve into this style of metal… with talent. The second piece that sets them apart is not the juxtaposed clean-and-scream vocals, but the way that the dirty end of it is executed.

Let me be a little clearer; Bonner’s vocals when clean are usually harmonized with a second vocal track (of his own making, I assume) so you get an emo-goth style very similar to HIM or at times closer to Depeche Mode. But when the intensity rises and the vocals get dirty, rather than the melodic-death growls we’re used to hearing with bands like Dark Tranquility, you get shredded with much more of a hardcore influenced scream.

But is it good? Well, at first, while discussing it with a cohort, we both felt that the dirty vocals didn’t fit very well. After giving it a few more listens though, I like the dirty vocals much more than the clean. The clean have far too much emo-style in it for my own taste. Yet, personal taste aside, both are executed with excellent control.

Damn, I’m listening to it right now and I’m really loving these mean screams.

We’ve seen the fade-and-punch blueprint for this type of music before in many bands because it works and works really well. Lilitu at times will deliver with utter flawlessness in this area, but at times, particularly in I Cannot Be Saved, the shift from slow and beautiful to fast and intense feels very awkward.

Overall, the songwriting and composition is well done. It boasts complexity that doesn’t eat itself, tagged with the occasional guitar-wanking licks thrown in for good measure. The title track, memorial is probably my favorite because it throws in some great vocal arrangements along with some fabulous and original keyboards and guitar-yanking that reminded me of the fantastic artistic expression of Sigh. However, Unwill is certainly not to be overlooked.

This is a great debut and this band without a doubt deserves some major label promotion. Century Media should be eyeing this release with a hungry smirk.

Bottom Line: While I’d drop some of the prettier emo-vocals, this bat is growing some great wings, a creative force on the horizon.

Rating: 7 of 10

   4.18k

Review by Aaron on February 20, 2005.

Black Nasa’s Deuce provides a decent lesson in quality over quantity. Spearheaded by Atomic Bitchwax bassist Chris Kosnik, Black Nasa put out 10 tracks of acid-tinged rock clocking in at a mere 34 minutes long. Throughout Deuce there are many tips of the hat to the likes of Pink Floyd, KISS and Deep Purple. Despite farming in such over-tilled soil, the band maintains a freshness of sound that keeps this album well enough away from the “Been there, done that” file.

Originality might not be a huge priority on these guys’ list, but many a potentially good rock album has been wrecked by trying to be the next Hawkwind instead of just delivering a good, straight ahead album like these guys do. The songs average about 3.5 minutes long, leaving the album overall pretty lean and tight. My only exceptions to this would be the three instrumental pieces, which seemed to have a tendency towards ambling away in awkward directions, leaving a decent ending difficult to get to, let alone appreciate. Kosnik and crew still prove to be adept musicians with a keen sense of groove, making the majority of the album a likable listen. The exception to this would be their entry for the “We Didn’t Really Need to Do This” Award 2004 with their off the cuff rendition of Run DMC’s “You Be Illin’” at the very end of the album. This is a minute and three seconds that need not ever exist. Remember guys, death is easy, comedy is hard.


Categorical Rating Breakdown

Musicianship: 7
Atmosphere: 6
Production: 6
Originality: 6
Overall: 7

Rating: 6.4 out of 10

   4.18k

Review by Tobias on November 8, 2001.

Lilitu is a rather unusual band. The first piece of that uniqueness is that they are the first American band to really delve into this style of metal… with talent. The second piece that sets them apart is not the juxtaposed clean-and-scream vocals, but the way that the dirty end of it is executed.

Let me be a little clearer; Bonner’s vocals when clean are usually harmonized with a second vocal track (of his own making, I assume) so you get an emo-goth style very similar to HIM or at times closer to Depeche Mode. But when the intensity rises and the vocals get dirty, rather than the melodic-death growls we’re used to hearing with bands like Dark Tranquility, you get shredded with much more of a hardcore influenced scream.

But is it good? Well, at first, while discussing it with a cohort, we both felt that the dirty vocals didn’t fit very well. After giving it a few more listens though, I like the dirty vocals much more than the clean. The clean have far too much emo-style in it for my own taste. Yet, personal taste aside, both are executed with excellent control.

Damn, I’m listening to it right now and I’m really loving these mean screams.

We’ve seen the fade-and-punch blueprint for this type of music before in many bands because it works and works really well. Lilitu at times will deliver with utter flawlessness in this area, but at times, particularly in I Cannot Be Saved, the shift from slow and beautiful to fast and intense feels very awkward.

Overall, the songwriting and composition is well done. It boasts complexity that doesn’t eat itself, tagged with the occasional guitar-wanking licks thrown in for good measure. The title track, memorial is probably my favorite because it throws in some great vocal arrangements along with some fabulous and original keyboards and guitar-yanking that reminded me of the fantastic artistic expression of Sigh. However, Unwill is certainly not to be overlooked.

This is a great debut and this band without a doubt deserves some major label promotion. Century Media should be eyeing this release with a hungry smirk.

Bottom Line: While I’d drop some of the prettier emo-vocals, this bat is growing some great wings, a creative force on the horizon.

Rating: 7 of 10

   4.18k